Apocalypse Now By Francis Ford Coppola

In both The Things They Carried and Apocalypse Now, transitional archetypical roles are used to show the degradation of innocence, as a result of the conflicts of war. In The Things They Carried, Mary Anne Bell, the young girlfriend of solider Mark Fossie, is brought to Vietnam in the heart of the war to be with him. In the beginning of her visit, Mary Anne is extremely soft, kind, and ignorant to the nature of the conflict taking place around her (O’Brien 91). Her relationship with Mark is one that appears as overly romanticized: “Mary Anne Bell and Mark Fossie had been sweethearts since grammar school. […] [someday] they would be married, and live in a fine gingerbread house near Lake Erie, and have three healthy yellow -haired children.

Apocalypse Now is the story of a Green Beret named Willard who journeys through Vietnam by river to confront an officer who left the army in the pursuit of his own private war. Willard's journey is not just a trip down a river, it is a metaphorical journey, and creates the effect of multiple levels of meaning. In addition to a superbly constructed story, Apocalypse Now can be viewed as a social commentary, an exploration of human conscience, or a moral metaphor. I truly enjoy dissecting and analyzing movies, as well as literate, at this level. I try to understand what the author, or film maker is really trying to say.

Kurt Vonnegut’s Slaughterhouse Five is a telling work of fiction that blends the author’s experiences with the horror of war with a touch of science fiction and a healthy dose of humor. The novel guides us through the experiences of a man on a journey in both directions of time, through war, and the delusions brought on by the horrors therein. The pilgrimage Billy is on is broken up by milestones that read “so it goes”. The journey is a vessel for Vonnegut to show the reader how war can desensitize a man to death and cause him to recede into coping mechanisms, but that a man cannot be desensitized to suffering.

Slaughterhouse Five by Kurt Vonnegut takes places on two contrasting planets. One is Earth, where war tears apart families and minds, and the other is Tralfamadore, where supernatural alien beings share their extended knowledge of the world. Vonnegut uses the two planets, Earth and Tralfamadore, to show the contrasting ideas of chaos and order, and that human actions have limitations that render them helpless against a meaningless universe.

During the mid 1950’s, the Vietnam War turned to be the modern pinnacle for battles resulting in the deaths of 58,000 American soldiers and millions of Vietnamese death. It saw the viable destruction of modern technology such as the newly fashioned M-16 rifle and the Apache, a helicopter made for mass destruction. For the soldiers experiencing Vietnam, it was truly an experience which would shape their hearts and minds forever. As evidenced in Tim O’ Brien’s The Things They Carried, The Vietnam War was an emotional tremor for the soldiers as they experienced deaths and created legendary tales which would define their lives, as well as future generations indefinitely.

The Vietnam war, a blemish on the face of American history is often dismissed and brushed under the rug. But veterans Daly Walker and Tim O'Brien exhume the war stories they spent decades burying in order to expose the truth about war. Despite the authors differing styles they both utilize symbolism to relate to the audience the tragedies that occurred during the war, and the battles they continue to fight even today.

In the movie, “Apocalypse Now” from 1979, we are shown, through the characters changing characterisation and the movies script, the horrors of the Vietnam war, and how the soldier fighting the war, is affected by it. We are given an idea of what it takes to fight and win a war.

This paper will be discussing the two movies The Green Berets (1968) and Apocalypse Now (1978), and argue how The Green Berets is a propagandist pro-war film depicting the unrealities of the Vietnam War while Apocalypse Now is an ambiguous anti-war film that shows the social and political absurdities of the Vietnam War.

This demonstrates that his dehumanizing language reflects his deep-rooted prejudice against the Viet Cong. Lieutenant Colonel Kilgore’s disturbing fascination with war and killing the Viet Cong criticizes the violence of war rather than glorifying it. Central to the plot of Apocalypse Now is Captain Willard’s rapidly declining mental state. The film begins with a black screen and sounds of a helicopter whirring, then fades into a mysterious Vietnamese jungle shrouded by fog.

Vietnam is a country located in Southeast Asia. It serves as the setting for a gruesome and traumatizing campaign. Vietnam, however, also symbolically represents the struggle and the fear. The fear being that American soldiers like Tim O’Brien and Bob Kiley are in a location that is strange and unsettling. They are in another man’s land, not in the comfort of their own homes. To the American soldiers Vietnam is Hell with evil lurking every corner. “Jungle, sort of, except it’s way up in the clouds and there’s always this fog-like rain, except it’s not raining-everything’s all wet...you hear shit nobody should hear.” Nothing is familiar, and the soldier’s coping mechanisms are limited, as indicated by O’Brien’s description of Lemon and Kiley at the beginning.

When Joseph Conrad sat down to write Heart of Darkness over a century ago he decided to set his tale amidst his own country's involvement in the African Congo. Deep in the African jungle his character would make his journey to find the Captain gone astray. Over eighty years later Francis Ford Coppola's Willard would take his journey not in Afica but in the jungles of South Asia. Coppola's Film, Apocalypse Now uses the backdrop of the American Vietnam War yet the similarities between the Conrad's novel and Coppola's film remains constant and plenty.

The landscape of a post-apocalyptic society contains nothing to live for, it is a world without the people you love, without sun, flowers or food; only lawlessness, fear and uncertainty of survival. McCarthy creates a post apocalyptic world in his book, “The Road,” that addresses the issues of our time by illustrating the fears of society and the violence that accompanies them. These fears at the time were most recently initiated by the attacks of 9/11 and the subsequent Iraq war and the resulting violence experienced both in America and around the world. McCarthy’s “The Road” is a worst-case scenario, in which the broad American view that we are invincible and our principles are infallible is challenged. And with the violence in today’s

The way Coppola portrays the aesthetics of violence contributes greatly to the film's appeal as a form of twisted patriotism. In other ways, Apocalypse Now shows the war not as immoral or downright wrong, only mismanaged. The film focuses on America's suffering, rather than on the destruction rained down on Vietnam and its people. On the other hand Apocalypse could be read as an anti-war statement because many scenes depict the randomness and lunacy of America's Vietnam

Slaughterhouse-five strives to remember the tragedy of the bombing of Dresden. Kurt Vonnegut constructs his novel around a main character who becomes “unstuck in time” (23). Billy Pilgrim’s life is told out of order, which gives him a different perspective than the rest of the world. Billy lives through his memories, and revisits events in his life at random times and without warning. Vonnegut introduces Billy Pilgrim to the Tralfamadorian way of thinking about memory and time so that he can cope with being unstuck in time. The Tralfamadorian ideology is set up as an alternative to the human ideology of life. In the novel Slaughterhouse-five, Kurt Vonnegut constructs a reality where memory is unproductive through the Tralfamadorian

Capturing the Reality of the Vietnam War in The Deer Hunter and Apocalypse Now ‘The Deer Hunter’ and ‘Apocalypse Now’ are two films which deal, at a very personal level, with American involvement in the Vietnam War. Although the style and narrative of each film are quite different a strong theme of ‘journeys’ is what binds the two films together, perhaps more so than the theme of the Vietnam War itself. These are journeys of self-discovery and self-destruction and in the sense that the central characters’ ideals become twisted by war and their value of life itself diminished.